Past Solo Exhibition
STPI at IFPDA Online Viewing Room: To Gesture and Inhabit 13.05.2020 — 13.06.2020
Information
Event has ended
13 May - 13 June 2020
About The Exhibition
STPI is delighted to present a solo showcase of Thai artist Pinaree Sanpitak in the inaugural edition of IFPDA’s Online Viewing Rooms. Renowned for her evocative use of the “breast-stupa” form, Sanpitak enables reconsiderations of age-old motifs to emerge, allowing viewers to reflect on the symbolism they hold across histories. Here, explorations of the body, its forms and the spaces it produces and inhabits, negotiate the boundary between what is shared and what is shielded, what is sacred and profane, the ethereal and the sensorial. Presenting themselves as a series of playful provocations in a range of print techniques such as collagraphy, etching and screenprint, these works create emphatic gestures that respond to lived experiences, and bring us into deeper engagement with each other and with the world we occupy.
About the artist
Pinaree Sanpitak
Residencies in 2018, 2025
Pinaree Sanpitak (1961, born and based in Bangkok, Thailand) creates works that explores how the human body, shaped by its lived experiences, sensuously inhabits physical and metaphorical spaces. Working across painting, printmaking, drawing, sculpture and collaborative culinary art, she is part of the generation of Thai contemporary artists that pioneered the use of mixed media multimedia and conceptual approaches in the 1980s and 1990s.
Influenced by her own journey of motherhood, Sanpitak is best known for abstracting the female form into elemental parts such as vessels, eggs and curvatures. The female breast, in particular, is a recurring motif. Coined as the ‘breast-stupa’, the form of the vessel and mound simultaneously resembles a Buddhist shrine and an alms bowl. This reorients the viewer’s perception of the female body through combining ideas of the sacred and the sexualised. In Noon-nom (2001–2002), an interactive installation with a title that means both “support” and “breast milk” in Thai, the artist invites viewers to rest within a sea of soft, flesh-toned breast-stupa sculptures. The work references Buddha’s ability to multiply himself a thousandfold, bringing together associations to the spiritual and bodily, the sensitive and playful.
Sanpitak obtained her BFA at the University of Tsukuba, Ibaraki in 1986. Her work can be found in major collections worldwide including the Los Angeles County Museum of Art,; Nasher Museum of Art, Durham; Toledo Museum of Art; Asian Art Museum, San Francisco; Queensland Art Gallery, Brisbane; Museum of Contemporary Art, Tokyo; Fukuoka Asian Art Museum; Singapore Art Museum; and the Ministry of Culture, Thailand.
Notable exhibitions include Ocean in Us (2024), Kaohsiung Museum of Fine Art, Kaohsiung; Connecting Bodies (2024), National Museum of Modern and Contemporary Art, Seoul; Wild (2024), Metropolitan Museum of Manila, Manila; New Large Scale Artworks (2023), Asian Art Museum, San Francisco; Collection 1: Vessels (2022), 21st Century Museum of Contemporary Art, Kanazawa; The House is Crumbling (2018), National Gallery Singapore; and Problem-Wisdom (2017), Queensland Art Gallery and Gallery of Modern Art, Brisbane. The artist has also participated in major international festivals including CHAOS : CALM (2022), 4th Bangkok Art Biennale; The Milk of Dreams (2022), 59th Venice Biennale, Venice; Restoration of the Sea (2019), 4th Setouchi Triennale, Honjima; JIWA (2017), 17th Jakarta Biennale; All Our Relations (2012): 18th Biennale of Sydney; So Close Yet So Far Away (2009), 2nd Incheon Women Artists’ Biennale; Expenditure (2008), 4th Busan Biennale; Art Circus (2005), 2nd Yokohama Triennale.
The artist has had two residencies at the STPI Workshop in 2018 and 2025; the former culminated in the exhibition Fragmented Bodies: The Personal and the Public (2019).
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